And then the censor certificate appears
on the CinemaScope screen.
As well, there is a history lesson
on CinemaScope, an audio interview with screenwriter Philip Dunne (recorded in 1969), press materials from the movie's début, a comparison of the widescreen and standard versions of the film and a picture - in - picture mode.
Not exact matches
THE DVDs Fox presents A Farewell to Arms and Francis of Assisi
on DVD in glorious 2.35:1 anamorphic widescreen transfers (the latter misidentified
on the box art as 1.85:1) that preserve their
CinemaScope origins and, more, honour them with popping the colours and by saturating the screen with the curious sterility of the process.
THE BLU - RAY DISC by Bill Chambers Shot in 35 mm
CinemaScope, Trouble with the Curve exports to Blu - ray in a fine - grain 2.40:1, 1080p transfer with deep blacks, incredible textural detail, and overgraded colours bordering
on putrid.
THE DVDs Carrying the «Vault Disney» tag within its platters but not
on the cover art itself, Disney's THX - certified, 2 - disc Special Edition of 20,000 Leagues Under the Sea (overseen by production house Sparkhill) presents the film at its original, true
CinemaScope aspect ratio of 2.55:1 in a transfer enhanced for 16x9 displays.
According to the three historians
on the DVD's excellent commentary track, the film did enjoy strong box office returns and was anything but a creative failure, but Castile is symbolic of the epic productions studios couldn't indulge in as often, until TV forced a return to bug budget epics during the fifties, in the form of pseudo-moral Biblical sagas in
CinemaScope and stereophonic sound.
Oh, did we mention that the neighbor's apartments are atop the local cinema, The Orpheum, wherein the
Cinemascope epics of the day seem to be
on constant rotation?
John Gibbs and Douglas Pye's chapter is also interested in widescreen stylistics as they examine the contrasting styles of Otto Preminger's
CinemaScope film River of No Return (1954) and Sam Peckinpah's Junior Bonner (1972), shot in Todd - AO 35 (a Panavision - like format based
on Japanese anamorphic lenses).
THE BLU - RAY DISC Likewise amazing, Criterion's Blu - ray release presents The Innocents in its original
CinemaScope aspect ratio of 2.35:1, in a 1080p transfer the liner notes describe as «created in 4K resolution
on an Oxbery wet-gate film scanner from the 35 mm original camera negative.»
The anamorphic widescreen
CinemaScope ratio was invented as a part of an industry - wide response to the rise of television, a way of asserting the superiority of the filmic image to the televisual one,
on the literal logic that bigger (i.e., wider) is better.
This edition is authored in BD - J with AVEC (MPEG 4) compression
on a dual - layer 50 GB disc, and presented in the Fox
CinemaScope widescreen format.
Other decent bonuses
on the DVD include a behind - the - scenes Still Gallery, Advertising Gallery, 4 postcard still / lobby card reproductions, and a short featurettes that briefly chronicles Tyrone Power's appearances in various swashbuckling actioners, with clips from a number of films extant
on DVD, and a few likely
on the horizon (like the
CinemaScope epic King of the Kyber Rifles), plus comments from the son of director John Cromwell — actor James Cromwell (the benevolent father figure in Babe, and Jack Bauer's monster dad in Season 6 of Fox» TV series 24).
On the eastern side of the rift, the scenery is still dominated by untouched nature, endless oak and birch alleys, and
CinemaScope landscapes embroidered with quaint, lookalike villages.
His choice of long horizontal and vertical painting formats and the seemingly frozen moments captured
on his canvases reference both
CinemaScope film and the visual effects of photography.
Each will focus
on a different aspect of Dean's practice; the NPG will show her portrait work, including her six - screen portrait of Merce Cunningham, the National Gallery will display still lifes (both 15 March — 28 May), and the RA will show landscapes — among them, a new 35 mm
CinemaScope film called Antigone (19 May — 12 August).
Many projector manufacturers offer 2.35:1 (anamorphic) viewing options that provide expensive add -
on anamorphic lenses with motorized «lens sleds» that truck the anamorphic lenses into position for 2.35:1 (
Cinemascope) viewing, then pull the lenses out of...